Black artists have a unique responsibility in today’s society. They play a pivotal role in raising awareness on issues that matter to marginalized communities. They can use art to address identity, inequality, and injustice.
But believe it or not, Canada’s cultural scene is missing a crucial component; the presence of more Black artists who lack representation on a grand scale. A 2017 study found that visible minorities make up more than half of Toronto’s population. Nevertheless, Canada’s most industrialized province lacks Black representation in art.
The study revealed that only 3.3 per cent of corporate boards and 9.2 per cent of private sector management are represented by minorities; the rest of the bureaucratic waters are all handled by white powers.
What Challenges do Black Artists Face?
Have you ever imagined a city without diversity? It can be mundane and boring. Although Canada prides itself on diversity, many of its provinces are not doing enough to increase Black representation. Canadian Art Magazine recently mentioned that there is a crisis of whiteness in Canada’s museums. The article stated that across Canada’s four main art galleries, including the renowned Art Gallery of Ontario (AGO), 96 per cent of executives are only white.
Hearing that is disheartening for many Black artists and curators. It essentially means that these institutions are not built with Black artists in mind. In essence, these figures are indicative of an endemic issue, one that needs to be addressed.
It essentially means that Black artists must wade through white waters if they want to succeed. What happens when an opportunity unveils itself for a Black artist? To get in and fit in might be more challenging than ever. That’s a question that many Black artists have grappled with even before systematic racism and injustice were trending in the news in the wake of George Floyd’s death.
Overcoming the Obstacles
If you think about it, most of the major art institutions in Canada are rooted in colonialism. Obviously, they will continue to uplift white hegemony. Nevertheless, that doesn’t mean Black artists and curators are resting on their laurels.
Rather than staying dormant, there are several Black-owned and run organizations that are rising up to fill the gap by creating their own spaces. Organizations like Black Artist Network in Dialogue (BAND), Nia Centre for the Arts, Obsidian Theatre, Black Artist Union Collective (BAU), Urban Arts, and Wedge Curatorial Projects are all lending a voice to the voiceless.
BAND gallery, for example, was founded by Julie Crooks, Maxine Bailey, and Karen Tyrell in 2008; it showcases works by emerging Black artists. Through various initiatives, the gallery documents Black artists’ artistic and cultural contributions in Canada and abroad. They also helped kick-start careers for several new emerging artists over the years by hosting exhibits, allowing artists and curators to see their work displayed in a professional setting.
Nia Centre is another organization that promotes works by Black artists. Founded in 2009, the centre has worked tirelessly to promote Black art. Their efforts include running professional development courses, community events, and programming for young artists to bridge the gap between Black artists and potential employment opportunities. Nia also hosts youth programs, artist-in-residence programs, and mentorship programs, along with yearly exhibits, to connect community members with artistic and cultural experiences.
Art is a wonderful way for communities to come together to share ideas, creativity, and dialogue. When it is inclusive and diverse, it can be more enticing as people see, learn, and watch something different from their own!
David Messiha | Staff Writer